Download Dramaten AB

Dramaten AB
To market a national stage
Final report in Advanced Marketing,
For professor Jonathan Schroeder, KTH
Petter Hallman [email protected]
MariAnne Ygberg [email protected]
Executive summery
This paper aim to describe and analyse the marketing process and strategy of Dramaten, the
national stage for theatre, in the light of its socio-cultural context. The study is based on
audience surveys, interviews with Dramaten’s marketers, general surveys by Statens
Kulturråd, articles and our own survey of educated, young and socially active adults.
During the last twenty years there is a clear tendency that the Swedish population visit more
culture activities, on the other hand is the participation in culture decreasing. Today, people
visit cinema and concerts, and go out in restaurants and bars more frequently than before.
Also computers and internet have increasing influence on the socio-cultural patterns of the
society.
It is in this context that Dramaten AB, founded 1788 by Gustaf III, should be seen. Today, it
is a theatre company, fully owned by the state, with a turnover of 220 million kronor, of
which 175 millions are financial support. The goal, given to Dramaten, is to have a wide
repertoire with both classical and contemporary plays, promote and support theatre and the
Swedish language and to reach as diverse and large audience as possible.
The visitors today are mostly from Stockholm, they tend to have a higher education
and earn more than the society in general and 70 percent are women. Dramaten has, based
on its tradition and strong actors and directors, a strong brand. Associations are theatre,
tradition and fine culture in general, visitor or non-visitors alike. People that have been to
Dramaten have additional, more personal associations based on their experiences.
Statistically, the visitors consider the play and the authors to be most important when
choosing what to see.
The marketing goals are to attract a diverse audience that mirror the society and to have as
high coverage as possible. No well-defined market strategy tells how to achieve this, as the
management is new. However, the focus is set on availability, mainly to attract a younger
age segment. Apart from this, resources will be put into theatre for children and youths, the
importance of marketing internally will be visualised, and a uniform communication will be
achieved by establishing guidelines. (Communication goals, graphical manual, picture
policies.)
Dramaten want to communicate their quality, the meeting place for people they are and
the unique experience they provide. This is done by consequently using photos of their best,
and most famous, actors, living and interacting, on or off the stage. The importance of press
is imperative but, due to the strong position among theatres, uncomplicated even if it
necessitates resources in personnel. So far, Dramaten has chosen to keep all stages closely
under the Dramaten brand. However, with the release of the stage Elverket as an own brand
this is changing. Elverket will provide new and young theatre for a target group that does
not today visit Dramaten. They aim at the contemporary, the difficult, and the active.
Marketers will have some influence on artistic decisions, breaking the classical dichotomy
between commercialism and artistic freedom that rule Dramaten.
The purpose of this study was not to evaluate the success of Dramaten’s marketing.
However, made choices are examined and questioned. Not being a part of the project report,
found issues and the resulting ideas are briefly presented to highlight some of the findings.
Findings
The purpose of this study was not to evaluate the success of Dramaten’s marketing. The
findings that are here briefly described are nothing but a selection of issues that were found
and discussed during the course of the project.
Without order of importance:
• The diversification of stages that is seen in Elverket’s own brand is positive. The use of
Dramaten as endorsement of quality and solidity is expected and wise. There is an
ambition of creating something new and different, which is sound, but it is important not
to carry it too long. An example of this is the different graphical expressions for the two
different stages of Elverket, there could be a good idea to, at least start with, the same
and thus strengthening the recognition of that particular expression. (See discussion in
6.3.3 To market a specific stage – Elverket.)
• There is a target group of young, educated and socially active adults, “normal” people, in
ages ranging from 20-35, which is not going to the theatre. Apart from sporadic visits,
those people are not “living in” the art and cultural arena as of today, they go elsewhere
to socialize. Elverket will probably not attract this target group, even though Elverket
restaurant and bar and the joint production with Cirkus Cirkör in Romeo & Juliet would
attract those people. (See full discussion in 6.3 Stages and target groups.)
• The graphical expression of the weekday advertisements of Dramaten is not strong
enough. They are simply not seen. Even though you know what to look for they are
sometimes hard to spot. (See discussion in 7.5.2 Graphical profile.)
• The theatre programmes today are much appreciated. They cost 20 kronor, which is
covering the costs. They are read and brought home as a souvenir, and as such they could
be used as a marketing channel more efficiently than today. They could also be given
away for free to premium paying segments, to add value for this group that is not price
sensitive. (See discussion in 7.2.5 Theatre programmes.)
• The lead word availability is often used among marketers at Dramaten. We approve
strongly of the concept, but want to point out that in itself availability is not enough. It is
also difficult to achieve; the coverage today is over 90 percent in average, and often 100
percent for the popular plays. Availability as a tool to attract a fluctuant target group is
more than being reachable; you need to have something to sell. If not, availability will be
a way of satisfying existing customers and maybe cut costs by transferring sales to the
internet. (See discussion in 6.2.1 Availability.)
• Maybe the use of the Metro newspaper could reach new market segments, at least from a
demographical perspective. (See discussion in 7.2.1 Advertising – printed press and in
7.5.1 Choice of Media.)
• The market influence on repertoire could in many cases be a good thing. To achieve the
goals given in the letter of regulation, marketers and surveys could be a resource in
finding a repertoire that would attract an audience better reflecting the society of today.
1
INTRODUCTION............................................................................................................................ 2
2
DRAMATEN AB.............................................................................................................................. 2
3
HISTORY.......................................................................................................................................... 3
3.1
3.2
4
CULTURE POLICY........................................................................................................................ 4
4.1
4.2
5
THE SOCIETY’S CULTURAL DEVELOPMENT .............................................................................. 6
THEATRE AUDIENCE ................................................................................................................. 6
DRAMATEN’S AUDIENCE .......................................................................................................... 7
DRAMATEN’S COMPETITION ..................................................................................................... 7
THE MEANING OF DRAMATEN FOR CONSUMERS AND NON-CONSUMERS ................................ 8
DECISION MAKING PROCESS ..................................................................................................... 9
MARKETING STRATEGY......................................................................................................... 10
6.1
6.2
6.2.1
6.2.2
6.2.3
6.3
6.3.1
6.3.2
6.3.3
6.3.4
6.4
7
THE GOVERNMENT’S GOAL FOR CULTURE POLICY .................................................................. 4
THE GOVERNMENT’S GOAL FOR DRAMATEN ........................................................................... 4
SOCIO CULTURAL CONTEXT .................................................................................................. 6
5.1
5.2
5.3
5.4
5.5
5.6
6
GENERAL HISTORY ................................................................................................................... 3
ECONOMY -FROM KING TO STATE ............................................................................................ 3
MARKETING GOALS ................................................................................................................ 10
STRATEGY ............................................................................................................................... 11
Availability.................................................................................................................. 11
Brand image and communication.............................................................................. 12
Marketing a play ........................................................................................................ 12
STAGES AND TARGET GROUPS ................................................................................................ 13
The stages - description ............................................................................................. 13
The stages - marketing ............................................................................................... 14
To market a specific stage - Elverket......................................................................... 14
The differentiation of stages – Analysis..................................................................... 16
POSSIBILITY TO REACH TARGET GROUPS ............................................................................... 18
MARKETING ................................................................................................................................ 18
7.1
THE MARKETING ORGANISATION .......................................................................................... 18
7.2
MARKETING CHANNELS.......................................................................................................... 19
7.2.1
Advertising – printed press ........................................................................................ 19
7.2.2
Advertising – billboards and posters......................................................................... 19
7.2.3
Flyers .......................................................................................................................... 20
7.2.4
Spring and autumn programmes ............................................................................... 20
7.2.5
Theatre programmes .................................................................................................. 21
7.2.6
The Dramaten building .............................................................................................. 21
7.2.7
Representatives........................................................................................................... 22
7.2.8
Internet........................................................................................................................ 22
7.2.9
Press and news medias .............................................................................................. 23
7.3
LAUNCH PROCESS ................................................................................................................... 24
7.3.1
Initialisation ............................................................................................................... 24
7.3.2
Text material............................................................................................................... 25
7.3.3
The use of photos........................................................................................................ 25
7.3.4
Advertising pictures.................................................................................................... 26
7.3.5
Advertising timetable ................................................................................................. 26
7.3.6
Press relations............................................................................................................ 26
7.4
CASE STUDY OF LISALOUISE .................................................................................................. 27
7.4.1
PR launching process................................................................................................. 27
7.4.2
Advertising.................................................................................................................. 28
Evaluation of the two different pictures .......................................................................................... 29
7.5
MARKET COMMUNICATION .................................................................................................... 30
7.5.1
Choice of Media ......................................................................................................... 30
7.5.2
Graphical profile........................................................................................................ 30
7.5.3
Profile advertisements................................................................................................ 32
8
REFERENCES ............................................................................................................................... 33
1
1 Introduction
This is a cultural marketing analyse of Dramaten AB, the Swedish national stage for theatre.
The background and context to the marketing situation for Dramaten is given in the first
four sections. By describing Dramaten in general, the history, the culture policy for Sweden
and the socio-cultural context Dramaten is situated in we hope to give clear picture about
the reasons to the current state of Dramaten and the factors that effect them. We then
analyse the market strategy and they way the marketing department work. Throughout the
report reflections about areas we find interesting are given.
Dramaten and especially its marketing department are in a state of changes. The theatre
manager started in the end of the summer and the marketing director has only worked at
Dramaten for six month. This has made the work with this analyse complicated but also
interesting. The situation may change even as we are writing this and our materiel is
probably already out of date.
The management of Dramaten has a difficult and complicated role. They are caught
somewhere between the artistic ideas that exits inside the organisation, the goals that are
given to them by the government and economical boundaries.1
The marketing department, and especially the director Ellinor Bollman and the project
manager Magdalena Rönström has been very helpful and contributing with materiel as well
as taken time to answer our questions. Further materiel, which this report is based on, is our
own limited survey of young adults, Dramaten’s visitor surveys, general surveys made by
Statens Kulturråd, and articles.
This paper is the final report from the project part of the course 4D1152 Advanced
Marketing, given by professor Jonathan Schroeder, KTH. The material presented herein is
given to us with the reservation that it should only be read by our tutor or the personnel of
Dramaten.
2 Dramaten AB
Dramaten is the national theatre stage in Sweden, with a responsibility to play classical
dramas, new Swedish and foreign dramas and drama for children and youth. Dramaten is a
company directly owned by the state and the government appoints the members of the
board.2 The manager of Dramaten, Staffan Valdemar Holm, has two different assignments;
he is both the artistical manager and the CEO. The manager works together with a
management team in order to fulfil the goals that the culture department formulates for the
theatre in a letter of regulation (regleringsbrev).3
Dramaten is heavily dependent on its governmental funding, which reached
approximately 175 millions in 2001. Further sources of income are the ticket revenue,
40millions and, among others, sponsor relationships.4
The theatre has over 300 employees but, with the extra personal included,
approximately 750 people work at Dramaten every year. In 2001 there were 1113
performances with in total over 300 000 spectators at Dramaten’s six stages in Stockholm.
The theatre occasionally performs in other places in Sweden or abroad.5
1
This dilemma of managing performing arts is discussed in, as example, Wetterström 2001
Englund, Claes & Janzon, Leif Theatre in Sweden Page 28
3
Dramaten’s web site
4
Lewin, Jan (2000) Det svenska smörgåsbordet
5
Dramaten’s web site
2
2
3 History
3.1 General History
Dramaten was founded 1788 by Gustaf III, with the French theatre Comedédie-Francaise as
role model. Gustaf III deep interest in theatre started in the early childhood. He wrote his
first play at the age of ten and he kept his passion for theatre during his lifetime, to the bitter
end at Operan. Operan and Svenska akademien was also founded by Gustaf III during this
period. He meant to politically and culturally unite the country, give the Swedish people a
national identity and the Swedish authors an opportunity to improve the Swedish language.
Gustaf III also meant Dramaten to be a platform for the actors to develop their art, which
where intended to enhance the people’s taste and culture.
Gustaf III intended only Swedish plays to be played on Dramaten, but since the Swedish
authors didn’t write as many plays as necessary he had to accept foreign plays. It was first
during the middle of the nineteenth century as the Swedish drama began to develop and later
flourish with August Strindberg.
In order to improve the quality of the Swedish actors, Gustaf III founded a school at
Dramaten. The education of actors at Dramaten continued until around 1960, when the state
took over. At the school the students learned how to move and of course how to talk. The
most important for the students were to be able to participate in the performances, to study
the established actors and the repetitions. In this way the traditions were kept living from
generation to generation. One of Sweden’s most famous actors, Greta Garbo, studied here.
During Dramaten’s lifetime the place of occupation has varied. Dramaten started out at
Bollhuset, next to the Royal castle, but moved to the Makalös palace after only five years.
Makalös was a magnificent seventeenth century palace where Dramaten stayed until it burnt
down in 1825. Dramaten had to share stage with Operan for the next 40 years, which
affected the acting for a long time since the actors adapted part of the style used at Operan.
Dramaten got an own stage again in 1863 when Karl XV bought a private theatre. Dramaten
moved into its current house in 1908. The house is the first one built solely for the use of
Dramaten and is one of Stockholm’s most beautiful Art Nouveau buildings. Sweden’s most
famous artists at the time being where hired to decorate the great marble building.6
3.2 Economy -from king to state
Dramaten’s economy has always been a critical question, starting back in 1788 when Gustaf
III had the travelling theatre societies paying for the royal actors pension. This was the start
of the disagreement between the countryside and the main city regarding the funding of
Dramaten. Even today the unwillingness to pay for a theatre, which are regarding to be
mostly for the people in Stockholm, remains in the country. 7
6
7
Dramaten’s web site
Dramaten’s web site
3
Dramaten was paid for by Gustaf III during his lifetime, but when he was replaced the
funding problem began. His successors never had the same interest for the theatre and
Dramaten’s economy became troubled. The first grant from the state came in 1809. Neither
the king or the state wanted to pay for Dramaten and it was up to the head of the theatre to
pursue them to give him money, even though this was a period when it was consider a must
to have a national theatre and the national culture where flourishing. The royal support
ended in 1881 and the state took over for a short period. Between 1888 and 1908 the theatre
was leased by a society of actors. During this period the repertoire became more
commercialised. Dramaten has been a company with the state as the only shareholder since
1908.
The economy has remained a frequent discussion between different politicians and the
theatre has often been accused for wastefulness. Further critic has been regarding the
repertoire, the plays has sometimes been regarded as too commercialised. Dramaten answer
to the accusations has been that it is next to impossible to uphold the artistic quality with the
amount of money given.8
4 Culture policy
4.1 The government’s goal for culture policy
The culture department has formed goals for the culture policy. The culture policy should
protect the freedom of speech and create opportunities for everybody to use this freedom. It
should also work for the possibility for everybody to take part in the cultural life, to
experience culture and to create by themselves. The culture policy should promote cultural
diversity, artistic renewal and quality and by that counteract the negative effects caused by
the commercialisation and give the culture the opportunity to be a dynamic, challenging and
unchained power in the society. The culture policy should also maintain and use the cultural
heritage, promote international culture exchange and meetings between different kinds of
cultures in the country. 9
4.2 The government’s goal for Dramaten
In the letter of regulation the government stipulates Dramaten’s goals until the next letter of
regulation. The goals presented in the letter of regulation are long term goals, since big
institutes as Dramaten aren’t very affected by change of actors on the political scene.10 The
last letter of regulation was presented in 2000 and contains overall, activity and general
goals.11
8
Lewin, Jan (2000) Det svenska smörgåsbordet
Culture Department
10
Interview Magdalena Rönström 3/10
11
Lewin, Jan (2000) Det svenska smörgåsbordet
9
4
4.2.1 Overall goals
• Be the leading theatre institution in Sweden and as national stage be an example for
other institutions in areas as development, renewal and artistic quality.
• Look after and promote the Swedish language and the theatre national heritage.
• Support innovative Swedish theatre through ordering and playing newly written
Swedish drama.
• Have a wide repertoire with both classic and modern plays.
• Reach as diverse and large audience as possible.
• Through high quality and preserved national distinctive character be able to assert
oneself in comparison with the best stages abroad and in the international co-operation.
4.2.2 Activity goals
For the theatre production:
• The goal is that through a diverse repertoire and performances of high quality contribute
to the development of theatre art and ensure that it is experienced as enriching and
important for a large and diverse audience.
• The goal is to have a good balance between classic and modern plays in the repertoire
and that every year set up at least one newly created play by a Swedish author.
• The goal is to maintain a high skill in handiwork in the theatre’s workshops and studios.
For the work with the audience:
• The goal is to preserve a high attendance and, if possible, give more people outside
Stockholm the opportunity to see the performances, on the stage in Stockholm or at
guest performances in other parts of Sweden.
• The goal is to increase the co-operation with radio and television companies.
• The goal is to maintain the number of plays during the summer.
4.2.3 General goals
• The goal is to promote a development of the society that is characteristic for respect and
tolerance and where ethnic, cultural, linguistic and religious diversity is used as a
positive power and to contribute to decrease in discrimination and racism.
• The goal is to answer to the young peoples demand through special children
performances and to increase the total share of young people.
• The goal is, when it is possible in regard to existing deals, to find complementary ways
to finance Dramaten’s activity.
Some of the goals correspond to the original goals formulated by Gustaf III back in the
eighteenth century. He wanted to develop and preserve the Swedish language and to
promote Swedish acting and play writing, which remain goals for Dramaten today.
Dramaten is also meant to preserve the Swedish national heritage, a heritage that would be
smaller if Gustaf III hadn’t worked for the cultural life in Sweden. One of the main
difference between the goals of today and those of the past is that the Dramaten of today is
meant to mirror the whole Swedish society12, while back in the eighteenth century most of
the people wouldn’t have been admitted to the theatre, it was for the noble and rich. The
ticket prices of today have a maximal limit in order to make it possible for everybody to
afford going to the theatre.13
12
13
Interview Ellinor Bollman 27/9
Interview Magdalena Rönström 3/10
5
5 Socio cultural context
5.1 The society’s cultural development
During the last twenty years the visiting of culture activities has increased while the
participating in culture activities has decreased. Even if many typical patterns about which
part of the society that takes part in different culture activities remains, some are broken and
we move towards a more equal situation. 14
Among the most common culture activities are reading, visiting the library and going to
the cinema. Other activities that are common in the spare time are going to a restaurant, café
or pub. Less common are dancing, singing, drawing and so on. During the last twenty years
there has been an enormous change in having a computer at home and using it is now one of
the most common activities. Besides that has the trend towards visiting concerts, the
cinema, the library and eating at a restaurant been strong.
Men and women choose different culture activities and women are overall often over
represented. When studying education a considerable difference regarding culture activities
between those with a degree and those without can be seen. The difference has lately
decreased a little bit, but those with a high degree are still very over represented. It is
important to remember that we move towards a more knowledge based society, with higher
education’s, but the gap mentioned above still remains since everybody is studying longer,
not only those who didn’t study at all before. There are some areas where difference in
socio-economical situation doesn’t matter, as for example sport activities. In other areas, as
visiting restaurants, the difference is decreasing.
The culture opportunities are uneven spread across the country with the result that there is a
big difference in amount of people experience culture activities in Stockholm and for
example Norrbotten.
5.2 Theatre audience
Theatre is, together with dancing and music, the area that receives the highest funding by
the government. This is probably part of the reason for the increase in the amount of people
visiting the theatre. The positive tendency is similar for men and women, but the women
visitors are still over-represented. The increase is mostly among the older people.15
It is mostly people between 45 and 64 that go to the theatre, even though it is also quite
a lot of young people, between 16 and 19. The age group between 20 and 44 are
underrepresented, and there is especially a decrease among women, which probably have to
do with breeding a family. When the women get elder they return to theatre.
The socio-economical patterns are obvious but there has been a development towards
decreasing the gap between the different groups. An increase in visiting the theatre by
people with low education and a decrease by people with high education has been noticed.
The difference in theatre visits by people born in Sweden and people with a foreign
background seems to increase though. The theatre visits has increased in Norrland and in the
least populated areas in the southern parts of Sweden, but visiting the theatre is still
considerable more common in the big cities.
14
15
Statens Kulturråd (2000) Den kulturella välfärden
Statens Kulturråd (2000) Den kulturella välfärden
6
5.3 Dramaten’s audience
Dramaten does four surveys about the audience every year. Three of these are smaller and
mostly about the structure of the audience while one is a more thorough survey. It is
questionable if this surveys can be regarded to be statistical correct since the number of
participants are rather limited.16
Dramaten’s visitors are not drastically different from the overall theatre audience. Some
of the general patterns, like the over-representation of women, are also true for Dramaten
(71%).
Some parts of the surveys are very interesting when considering that one of Dramaten’s
main goals is to attract a diverse with people from all different segments of the society.
This is further discussed in 6.1 Marketing goals. The main part of the audience is from
Stockholm and 90% of the audience was born in Sweden. In the future the trend says that a
bigger share of people who weren’t born in Sweden will visit Dramaten since out of the
people born abroad 20%, the biggest share, are found among young people. Interesting to
notice that when looking at solely men, 99% were born in Sweden. The share of the
audience were at least one parent wasn’t born in Sweden is almost as small as the group
who weren’t born in Sweden.
Almost two thirds of the visitors to Dramaten are either married or are living together.
Another area in the survey is about the socio-economical aspects. 72% of the audience has a
high educational level and 67% are earning more than 200 000 kronor every year. In the
audience with a higher salary men are more common. In the highest group, those who earn
more than 400 000 every year, men are even more common than women (54%).
5.4 Dramaten’s competition
If looking at competition in a wide sense, Dramaten does not only compete with other
theatres, it competes with all kind of different things you do in your spare time. This could
be everything from reading a book or going to the church to going to soccer games. It could
also include going to your cottage in the countryside during the weekend, or knitting. It is
not in the scope of this report to evaluate all this different kind of competition. The most
obvious competitors for Dramaten is, except other theatres of course; concerts, shows,
opera, cinema and going out to eat at a nice restaurant. 17
Ellinor Bollman, the marketing director at Dramaten doesn’t really see these different
activities as competition, she doesn’t mean that it has to be one of these other activities
instead of Dramaten. She rather regards it to be a question of both these other kind of
culture activities and Dramaten. If you are interested in culture, for example going to
theatres and museums, you do both.18 This makes a lot of sense; culture active people tend
to do a lot of different culture activities. This implicates that other activities as sports and
cleaning the house probably are worse competitors than culture activities.
When looking at a special evening though, were the person in question has decided to
not stay at home, a visit to Operan or the cinemas certainly rule out a visit to Dramaten. In
our opinion other culture activities must therefore be seen as competitors to Dramaten.
When someone consider what to do on certain evening, Dramaten has to try to make that
people choose theatre and when that person consider where to go or what play to see
Dramaten should try to make her choose their house and their plays.
16
17
Dramaten’s survey February 2002
A similar discussion about culture can be found in Statens kulturråd Krukmakaren i Delphi
7
5.5 Meaning of Dramaten for consumers and non-consumers
We have tried to evaluate the meaning of Dramaten for consumers and non-consumers. The
theories are based on our assumptions and around fifteen interviews with people who are
similar to us, i.e. young people with education, who are socially active. Due to the fact that
we have only interviewed one special segment our theories will be biased.
The meaning of Dramaten is complicated and does of course vary for different people. A
consumer and a non-consumer view Dramaten differently even if there also are similar
areas. In our opinion is Dramaten considered to be a part of our cultural heritage and as such
an embedded part of our national identity. Even non-consumers can regard it as important to
preserve Dramaten and feel a pride over having a strong national theatre culture. For many
people a national stage is something a country should preserve and develop, in the same
sense as a national park should be preserved.
Many people in our interviews weren’t consumers; some were non-consumers and had
never been to Dramaten. But even for them, Dramaten was associated with words like
history, traditions, heritage and superior quality, which supports our theory about
Dramaten’s meaning for all people, consumer as well as non-consumers.
For the consumer those feelings for Dramaten are stronger and for them it also exists a more
personal meaning. A visit to Dramaten can give self-fulfilment and personal satisfaction to
people. For people genuinely interested in theatre the satisfaction can come from just the
enjoyment of watching the performance, admiring the geniality in the play and feel the wellknown atmosphere.
A theatre experience could also be a way to build ones self-image or image. People that
want to be cultural, that would like culture to be a part of themselves appreciate the theatre
visit because it improves their self-image. This kind of people would like to do more culture
activities than they do; the time, money or motivation is not good enough. For another group
the theatre visit could be a way to build their image. Theatre is by most people considered to
be more mature than for example cinema. In our interviews we asked about their difference
reaction to if a friend told them that she/he had been to the cinema or Dramaten last night. In
general there was a considerable difference. One girl said, it is more sophisticated to go to
Dramaten. This sophisticated aura around Dramaten gives some of its shine to the visitors’
images. Among some friends we use to talk about culture points in a jokingly way. After a
visit to a museum we can joke about getting so and so many culture points. This way to act
is probably based on the fact that we consider it to be part of general knowledge to do some
culture activities every year.
This discussion doesn’t mean that the people that builds their images or self-images through
the visit to Dramaten don’t enjoy the performance, or that they pretend their interest in the
play. The point is that they feel better about themselves because they have been to the
theatre.
8
5.6 Decision making process
The marketing department has done surveys about the factors that make people visit
Dramaten. The dominant factor was the play (55%), followed by the actors in the play
(35%). A little less than 20% based their choice on the author and the number for the
director and those that had been influenced by the opinions in media were about the same.
There are also social reason, going with some friends or getting tickets by someone else.19
One interesting aspect to mention here is a discussion we had with Ellinor Bollman about
why to choose a special play. She considered it strange that the classics, like for example
The Twelfth Night, was so popular by unaccustomed theatre visitors, since the level of selfrecognition are lower than in more modern plays.
We don’t really have the same opinion here, as unaccustomed theatre visitors we think it
feels natural to choose a classic. You like to see something you heard about, maybe read
about in school. You consider it to be part of the general knowledge. This reflects the
discussion about image that we had in the previous part, some plays are considered to be
part of the things “you should have seen”.
19
Dramaten’s survey February 2002
9
6 Marketing strategy
6.1 Marketing goals
For most companies in the entertainment business the obvious goal would be to attract the
largest audience possible. Dramaten’s situation is quite unique since their prime goal is to
make their audience mirror the society; they want to attract a diverse audience.
It is up to the marketing department to make the audience mirror the society. In order to do
this the theatre needs to reach out to new segments of the society. An example of a large
group, which hardly is represented in the theatre statistic, is people with a foreign
background. Of course there are exceptions; people from countries with a strong theatre
tradition continue to visit theatres in Sweden, like for example people from Greece and
Spain.
Dramaten’s marketing situation becomes more complicated by the fact that attracting a large
audience is apparently also a goal. The coverage was approximately 92% for 2001, a
number that signifies that most of the plays are sold out well in advance. The marketing
department aim to maintain this number. Besides obvious advantages, as the revenue from
the tickets, there are other areas that a high coverage influences. As mentioned before,
Dramaten is dependent on funding, especially by the government but also by other sponsors.
A large audience signalise that the spectators approve of Dramaten’s work, which
strengthen Dramaten’s image and is a condition for sponsorships.
As a result of the two different demands on Dramaten, attracting a diverse and large
audience, it is not enough for the marketing department to concentrate their resources on
new small segments. They also have to provide the daily information for the frequent theatre
spectator.
Besides the two goals mentioned above the marketing department has formulated four
communication goals:
Show Dramaten as an organisation that gives a unique experience.
According to Ellinor Bollman is Dramaten unique since they have the best actors,
directors and stage designer in the country. It is also an interesting place out of a culture
historic view.
Dramaten should be a meeting place for people
It is not only a meeting place for the over 300 000 yearly visitors, it is also a meeting
place for different professions. Every performance is meeting between the people who
have been working with the play, the actors and the audience.
Dramaten should express tradition and renewal.
This is partly done through the repertoire but another important area for this is to
preserve the handicraft heritage. Some professions are today only performed at
Dramaten (and probably at some other theatres).
Provide the best quality
As a national stage, Dramaten should be an artistic example for the other theatres in
Sweden.
10
6.2 Strategy
As of today, Dramaten has no explicit marketing strategy. The marketing director, Ellinor
Bollman, has been working since February 2002, and has concentrated on tactical issues on
the expense of the overall strategy. However, the strategy is implicit in the direction that the
market communication has taken and in the focus that Bollman put on certain aspects, such
as more resources into theatre for children and youths, policy for picture use, graphical
profile and the making of graphical manual, organisation of marketing department and
visualising the importance of marketing internally.
A dilemma in doing marketing strategies for Dramaten is the relation between demand
and supply, between given plays and wanted. At Dramaten there is the theatre director and
the director of planning that set the repertoire. The question of having marketing personnel
as a part of this process is a delicate question, the freedom of art and the artistic expression
are critical issues in a theatre like Dramaten. There is also a, somewhat elitist, idea, that the
deeper and more difficult, the better. An unknown person at Dramaten is said to have given
the classical statement that we should not give the audience what it wants, but what it does
not understand that it need.20 This quotation might reflect the problem in working with
marketing of Dramaten.
6.2.1 Availability
One of the keys in Ellinor Bollman’s vision of Dramaten is to open the theatre and, most
importantly, becoming more available to the customers. Cinemas are used to symbolize this
availability, it should be as easy to go to Dramaten as Filmstaden. The use of internet is one
part of this, allowing customers to buy tickets online and collect them for free all over
Sweden at the nearby betting agent (ATG/BiljettDirekt). This sales channel is seen as a
major step towards attracting people between 20 and 35, whom today are too absent in the
audience of Dramaten.
The idea of availability is today a fundament in the marketing departments view of
marketing and sales. (This is seen, as an example, in 6.3.3 To market a specific stage –
Elverket.) The idea of availability is truly important, however there are two important
aspects to analyse. First, is it truly achievable to be as available as for example cinemas
when Dramaten today has 92 percent coverage? With increased coverage, the logic tells us
that tickets to most plays will be more difficult to find and force people to plan longer
ahead. The case of Romeo & Juliet which was sold out almost every single night, with black
market tickets costing more than 300 percent of original tickets, illustrate this aspect well.
Second, will the increased availability, having in mind the first aspect, bring new segments
of the target group into Dramaten? The idea must be to lower the step, the hinderence, for
unaccustomed theatre visitors, and we believe this theory holds. However, we are convinced
that this will not be enough to significantly increase their part of the theatre visitors. Nowak
(1982) points out that there is no clear relation between the availability (and price level) and
increased usage by unaccustomed customers. With examples from surveys in other culture
and fine art industries – such as libraries, television and museums – she discusses how the
supply of, and the demand for, demanding cultural activities are mismatched. People tend to
choose undemanding forms of culture and distraction, even though the more demanding are
easily available and for free.
20
Ellinor Bollman,29 September, 2002.
11
6.2.2 Brand image and communication
Dramaten has a very strong brand in respect to recognition, but also seen as a symbol of
theatre tradition and quality in performance. There has been no real study of the brand
equity or associations, however there is a
feeling for the brand both within Dramaten and
for most people whom we have been in contact
with. (See chapter 5, Socio-cultural context.)
The four goals for communication mentioned above in 6.1 Marketing Goals, describe what
Dramaten will try to communicate. The marketing will try to form the public’s brand
associations of Dramaten to be unique experience, meeting place for people, tradition and
renewal and quality. They intend to reach this by using the actors and the performances. The
performance photos will give the feeling of unique experience, interaction and meetings.
The well known actors signify quality and catches the attention. The use of actors is also in
line with the statement of Staffan Waldemar-Holm, Theatre Director, that the actors are the
heart of the theatre21. One of Dramaten’s competitive advantages is clearly in the excellent
ensemble and the tradition of first-class directors, and thus this should be communicated to
the audience. However, there is a problem in promoting individuals too strongly; all acting
is teamwork and the idea of the collective is rather strong in Dramaten. This problem is
solved by not using the “stars” too obvious, still it is the famous actors/faces that are used in
all advertising, but their names are written more discreetly than had it been, for example, a
film production. This is a fine balance between draw on the stars and endorse the collective.
Pictures of performing actors are very strong visually and will be used to bear the
logotype of Drameten, attracting the attention and contributing in strengthening the brand.
When there is advertising without pictures, the logotype of Dramaten is meant to bear the
information by attracting the attention and providing associations.22
It is important not to forget that the brand of Dramaten after all is built on the
performances of its actors actually give, in the plays that are offered to the audience.
Consequently the perception of Dramaten’s quality and content is based in what people see
when they visit the theatre, or when they are retold by friends and press what those have
experienced. This makes the press relations very central for Dramaten’s communication.
What the critics write is how Dramaten will be perceived. It is impossible to influence the
critics in a direct way, however, the people in Dramaten that set the repertoire, and direct the
plays, know perfectly well what the critics like and dislike. Most probably this knowledge is
implicitly used in the work and strategies of the artistical management.
6.2.3 Marketing a play
The marketing of every play becomes a project in its own. There is a special project leader
and a project budget allocated to the project. Dramaten has chosen not to put the flashlight
on the content in the play; instead they try to market the experience of the play and the
actors participating.
In 5.6 How to choose Dramaten are the factors that make people choose to go to Dramaten
described. The main reason was the play and therefore it makes sense to put the plays in
focus when marketing. The possibility to connect marketing a play with marketing the stage
is described in 6.3 Stages and target groups.
21
22
Betty Skawonius, DN, 26 August, 2002.
Ellnor Bollman, 14 October, 2002.
12
6.3 Stages and target groups
Dramaten has today six different stages, ranging from 60 to 720 seats, enabling the theatre
to maintain a variety of different productions. The existence of smaller and more flexible
stages is vital for the creativity and renewal of the theatre tradition as well as learning labs
for promising directors and stage designers, however, that is outside the scope of this
study.23 The interest in Dramaten’s stages is in how those are used in marketing
communication and their use in relation to the target groups.
6.3.1 The stages - description
Stora scenen with its 720 seats is the
original stage that was built in 1908 in
the large and beautiful building at
Nybroplan in Stockholm. The
auditorium is decorated with famous
classical paintings and the interior goes
in blue and gold. Next to the auditorium
the Marble Foyer gives the audience the
atmosphere of going back in history
with its white marble and paintings
from, among others, Carl Larsson.
Lilla scenen, located in the neighbouring house called Hansahuset, was renovated some
years ago and today it offers a flexible stage room for up to 340 spectators.24
Målarsalen is the third stage, located in the old painters’ workshop in the Dramaten
building and offering about 160 seats. This stage was created during the 60:s and 70:s, a
time when the society was reflected in the theatre as a movement towards renewal, shown in
new audiences and new places to perform, and in the need to experiment with the theatre as
art form. Fyran is a small stage, suited for “chamber dramas” with its intimate stage room
and up to 60 spectators. Lejonkulan, the lion’s
dean, has become the home of Young Dramaten,
with plays and initiatives for children. There is
room for about 60 visitors. Also the foyer is used
for giving theatre experiences to the youngest
audience.
In 1997 Elverket was opened, being the stage
for newer and contemporary theatre as well as
being used for guest performances visiting
Dramaten. The building, which gave its name to
the stage, was originally an electrictyworks and has been rebuilt to house stages for about
200 plus 100 visitors as well as a restaurant and bar.
23
As discussed in ”Lite Opera för mycket pengar” (DN 25 September 2002), the lack of small stages is
a part of the problems of the Royal Theatre (Operan) when it comes to renewal and vitality in
repertoire, something Dramaten, also as a national stage, has been more successful in.
24
Dramaten’s web site.
13
6.3.2 The stages - marketing
The stages have traditionally not been used in the marketing of Dramaten. Even though they
have their own logotypes on the web site there has been almost no efforts made towards
shaping a profile for stages individually. In the advertisements for productions the stage is
always mentioned, but not given much weight. Up to today the same has been true for all
stages, but as will be described later this is about to change in the case of Elverket.
However, today the stages have not the same character since different plays suit the diverse
dispositions of all the stages, thus different stages serve certain segments of the audience.
Does it make a difference for the customer what stage they visit? We believe that it is
definitely an important part of the decision making, which however is a quite complex
process. In Dramatens survey of young adults from 1991, Projekt unga vuxna, they found
that the small stages were widely appreciated and not that known . Stora scenen was an
experience to visit, but the more intimate atmosphere of the smaller stages felt more
familiar.25
The planning department select stage based on type of drama, needed ensemble, expected
target group etc. The choice of stage is also setting the ticket price as it is based on stage
rather than production. Obviously, the stage that you visit when going to Dramaten is based
on what play you chose. Thus, the different experiences of different stages need not to be
promoted since the visitors will probably find themselves in the kind of stage they want
since they indirectly chose the stage when they chose what play to see. The visitors
probably have an idea of what experience they seek; being a combination of participating
actors, stage and its set design, director and the actual play. Accordingly, the strategy of
Dramaten not to market and promote the stages more specifically can be justified by the
argument that when the play is marketed this will cover also the stage.
However, we believe that the use of the distinct stages could be used in the marketing to
communicate the different feeling and atmosphere that is the result from a specific stage. All
advertising of Dramaten today aim at communicating the atmosphere and experience of
theatre, maybe could the stages help in communicating this? With the new direction for
Elverket, which took form at the same time this project was carried out; this will be tried out
in reality.
6.3.3 To market a specific stage - Elverket
With start in the autumn 2002 Dramaten will try to separate the venture of Elverket from its
“normal” organisation. Briefly, this is seen in the introduction of a project team for
managing the stage and an own graphical identity. The personnel is still a part of the their
functions in the Dramaten organisation, however the team composition is a new approach to
working with theatre for the national stage. The team consists of four people, one artistical
manager, one producer, one marketer and one dramaturge. The joint work by those four
mean that a person in marketing function has influence on what plays they will set up, and
naturally also the reverse influence exists.
The aim with the reborn Elverket is to provide a stage for experimental and
contemporary theatre. Providing opportunities for new directors and stage designers to try,
and be tried out, in an environment better suited for this, is also an important aspect for
Dramaten. As mentioned in the letter of regulation Dramaten as a national stage is supposed
to work actively to support the theatre art and have both diverse audience and repertoire.
Seen this way Elverket will be the part of the institution that will try the limits and find an
audience hat normally not visit Dramaten.
25
A qualitative survey with 12 young adults who visited all plays of Dramaten during one year.
14
They prefer to define the target group as the people that visit Kulturhuset because of their
interest in photography, that visit the House of Dance or go to Orionteatern26, rather than
using a demographic description. It should be an active, as opposed to a passive, experience
in going to Elverket. There is a elitist approach, actively searching the difficult and
demanding. Probably there is an overlapping target group with what Stadsteatern has with
its somewhat corresponding initiatives, Unga Klara and Backstage. It is not stated that the
visitors need to be young, but probably that will be the case in reality. For this target group
price is not the most important factor in the decision-making, more importantly Elverket
want to compete with availability, content and well used press relations27.
The marketing will focus on press relations and
different marketing channels. Three different “voltprojects” will be used to create a scene, and thus attract
an audience, for different contemporary art directions.
(Performance, art video and short film.) The launch
process of a production will follow the same pattern as
the rest of Dramaten, as described later in 7.3 Launch
Process. However, more focus will be placed in
working with press and finding non-conventional ways
of marketing.
The visual impression of Elverket should be angry,
provocative and direct, according to project marketer
Helena Seth. There is a clear break with Dramaten in
the visual appearance, but the name Dramaten remains
written in plain text as a warrant for quality and
professionalism. Elverket will use
pictures to communicate the content,
rather than the experience, of the play. This is done by using
documentary photos rather than the photos of actors and
performance that Dramaten does. The photo is combined with the
bold flash of Elverket to create a picture that will catch the
attention. The use of authentic pictures is interesting in the
standpoint of Holt (2002) who discuss whether the use of
authenticity in the post-modern branding paradigm is
about to be replaced since authenticity is over-used
and as a marketing tool therefore looses its value.28
Above, concept for marketing of Elverkets big stage
using documentary photos and the bold flash and
logotype seen to the right.
26
Helena Seth, 15 October, 2002
Helena Seth, 15 October, 2002
28
There is one evident discrepancy in this case; the art performances in themselves could be
classified as authentic material. However the use of Holt’s model of branding and consumer culture
could be an interesting direction for deeper analysis.
27
15
Interestingly, a different graphical expression is proposed
to be used for the smaller stage of Elverket. This second
design is a photos transformed into letters and words
floating over the whole picture. The utility of having so
differently visual approaches for the two different stages,
both within Elverket, could be questioned. We believe that
the marketing would gain in clarity and effect if the same
graphical form was used for both stages.
The same basic idea that is found in the concept
for “Stora Scen” is behind the graphical design
for the “Volt” projects. The logo of Volt will be
put like a stamp over pictures boldly, challenging
and disobedient. Showing that this is a daring
project that will make a difference.
Concept for marketing of Elverket’s
“Lilla Scen”, original in color.
6.3.4 The differentiation of stages – Analysis
One of the major points in our analysis has been the need to differentiate more between the
stages, partly because of the different experiences, and partly because of attracting new
target group segments. During the time of this study the formation of Elverket as a separated
project, however still belonging to Dramaten and being a part of that organisation, has
proceeded and together with the differentiation of brands this is a change that we approve
of.
Detail from advertising template showing
Elverket’s logotype with “Dramaten”-text
It is interesting to analyse the relation between the Dramaten brand and the sub-brand
Elverket. Apparently, Elverket as a brand will gain credibility and proof-of-quality by using
the strength in Dramaten’s strong brand associations. At the same time, by being stated that
Elverket belongs to Dramaten, the creative and renewing associations that will help
revitalise the brand of Dramaten. As stated by Uggla (2002), strategic brand management
can be analysed from the basic brand association base, showing the interactions of brands
and how they can contribute to other brands with their own brand associations. Elverket will
be using many other brands, like their partners in the Volt
projects, when they shape their own brand identity. A
successful cooperation and co-branding was in the production
of Romeo & Juliet 2002, together with Circus Cirkör.
The old logotype of Elverket, showing an example
of cobranding (cooperation) with other brand.
16
It is also interesting to note that when Dramaten choose to communicate the experience, as
shown in actors and stage set design, Elverket want to communicate the idea and content of
the play. This difference is not neglectable, it shows two different approaches to theatre and
more concretely it reflects the different target groups. This ability to differentiate is the
major advantage in the differentiation. It is important to keep in mind that it is still one
theatre, being able to use the synergies and vitality that might come from single stages or
projects. The differentiation is mostly a question of market communication and how to
attract new target groups, something which is stated as one of the major goals. When it
comes to the renewal of theatre as art form, the impact of Elverket might be important, but
that in itself does not hold as argument to differentiate the brand from Dramaten.
Historically the opening of Målarsalen (see 6.3.1 The stages - description above) as a
flexible stage for contemporary plays and experiments show how this can be kept in the
mother brand.
We stated that the differentiation of Elverket and Dramaten mostly is about market
communications and in the project activities that will be held around the stages. However,
the fact that marketers will have influence on repertoire is completely new and provocative
to the tradition of theatre.
In conclusion we want to point out, that we find the differentiation between Elveret and
Dramaten a positive change. However, and without criticising the direction of Elverket, we
would like to see an effort in a direction that Elverket could have taken, namely towards
young, socially active, people that are today not going to theatre.
The group we think about is, contrary to Elverket’s target group, unaccustomed to
theatre and are not that active in art events. When Elverket will communicate with an almost
angry and disobedient expression, the segment we have in mind feel excluded, they cannot
identify themselves with that image. The people we think about are the “normal” people,
studying or working, socialising in bars, restaurants or at private dinner parties. Many have
probably been to theatre or art events with parents and/or school, but they do it today less
than they want to. The reason might be that they have not much time, or since they are
anyway not taking active part of more demanding culture, they just don’t start, continuing in
their social pattern. (People like we are.)
This segment would have liked to see Romeo and Juliet in the joint production with
CirkusCirkör if they had known about it . (Or maybe they knew about it, but they found out
too late to buy ickets.) This audience wants an experience, which is in line with Dramatens
brand communication, however, they don’t identify themselves strongly enough with theatre
in general, and Dramaten in particular, to act on the marketing. This is probably people that
can be found in the popular Elverket Bar and Restaurant, but that might have difficulties in
identifying themselves with the “active-and-difficult theatre” and contemporary art
associations that Elverket are about to give. The segment we think about will have problems
in identifying itself with anti-commercial messages, since many things they do for
recreation and socialazation are in fact commercial.
Interestingly, the younger half of the segment we try to describe would associate
themselves with the advertising style of the small stage, “Lilla scen”, of Elverket, with its
Matrix-inspired graphical form. However, this does not mean that they feel a part of what
Elverket want to communicate.
17
6.4 Possibility to reach target groups
It is easy to talk about making the audience mirror the society, but is it really possible? It is
for example quite natural that people, and especially women, are occupied with children and
a career during a certain time of their lives. It is also quite hard for people that don’t
understand Swedish to enjoy theatre in Swedish, and the responsibility to teach Swedish to
new beginners is certainly not Dramaten’s. Some goals are hard to reach, even if of course it
is worth the effort to try. People lacking the theatre tradition due to for example the fact that
they or one of their parents wasn’t born in Sweden are a group that is probably easier to
reach; they don’t have such a strong barrier.
Other problems, such as the geographical barrier may seem as impossible to overcome. It is
probably very hard to get people to travel to Stockholm just for going to Dramaten, the goal
should instead be to make a visit to Dramaten a natural ingredient of a visit to Stockholm,
similar to how a visit to a musical is almost a must when going to London.
If the people don’t come to the theatre, can you get the theatre to come to them? Tours is a
part of Dramaten’s operation, but it is very expensive and the theatre therefore doesn’t have
the economical possibility to tour in a large extent. Another way to reach an audience in
other parts of Sweden than Stockholm, is to use radio and television. Dramaten has the
capacity of co-operation, but no deals exists and Sweden’s radio and television channels are
working more with series than single programs. The government has to direct their demands
towards Sweden’s radio and television in order to make co-operation with Dramaten
possible.29
7 Marketing
7.1 The Marketing Organisation
The marketing department consists of 20 people. There are three project managers who
report directly to the marketing director. There are two photographers with one assistant,
one graphic designer and one webmaster. 10 people are working directly with ticket selling.
The marketing director is also responsible for the audience service, so the audience service
manager and the 30 people working with audience service are sometimes seen as part of the
marketing department. 30
Recently new marketing personnel with experience from business life have been employed,
which is a sign of the management’s increasing understanding of the importance of
marketing. Among the new employees is the marketing director, who started in February.
She changed the organisation into what is described above; before her the marketing
department where hardly organised at all, everybody reported directly to the director. The
new organisation has made the role and work of the marketing department more evident. 31
It is not only among the management that the understanding of the need for a good
marketing department begins to increase. The younger generation at Dramaten is more
aware of marketing and brands and their importance, which is expected considering the
ever-increasing importance of brands in people’s life.
29
Lewin, Jan (2000) Det svenska smörgåsbordet
Interview Magdalena Rönström 3/10
31
Interview Magdalena Rönström 3/10
30
18
7.2 Marketing channels
Like in all other enterprises, the marketing department of Dramaten has to work with a
limited budget for their marketing activities. We have not been able to see figures, but it
seem like Dramaten has sufficient resources to put into its marketing efforts. Compared to a
major motion picture release, or some of the musicals given by private theatres, Dramaten
put less resource into marketing.32 The different channels they have come to use are thus
affected by their focus on cost, compared to the gain by using that particular channel.
A presentation of the various channels used by Dramaten is here given. How those are
combined in the promotion of one play is discussed under 7.3 Launch process and 7.4 Case
study of LisaLouise, following after this chapter.
7.2.1 Advertising – printed press
Dramaten works with a variety of different advertising medias. On a daily
basis they have an ad “On Dramaten tonight” which is published in the
cultural sections of the two major Stockholm newspapers. In the same
newspapers – Svenska Dagbladet (SvD) and Dagens Nyheter (DN) – there
is a weekly ad every Sunday showing the repertoire of the coming week.
Due to the marketing goals of Dramaten, specialized press can also be
used to attract the attention of a special target group. In those cases the
advertisement is always directed to one segment of the target group and it
is one particular play that is promoted.
A glance at the coverage of DN and SvD show that the ads can be seen by
approximately 850 000 people, a bit more than 60%, in Stockholm (639
000 + 240 000, some overlap). The demographical analysis show an
overweight for people with higher education and people with a high
income. This is more evident in the case of SvD, which also show a
significantly higher theatre interest than the Swedish population in general
(52% compared to 34%, no data on theatre interest among DN readers).33
Among the visitors of Dramaten we see that DN is read by 67%, SvD 35%, Metro 34%, and
Aftonbladet 13%. The correlation between age, income and newspaper seem to be the same
as for SvD in general; the older people tend to read SvD, whilst the younger read Metro.
The higher income the theatre visitors have, the more they read SvD, and the opposite is
true for Metro. (Discussion about Metro is found in 7.5.1 Choice of Media.)
7.2.2 Advertising – billboards and posters
Due to budget considerations advertising on billboards34 is more of exception than a regular
part of the standing media mix. Advertising in the Stockholm metro and busses is
sometimes used, as an example for the play Rus. The most used channel for printed
advertising, except printed press, is posters. Bought poster space in the public environment
is combined with posters that are given to restaurants, shops, cafés and kiosks. Those
promote Dramaten for free, with the only compensation of having the chance of going for
free at the rehearsals. The use of posters is close to an industry standard when it comes to
market culture and art, and Dramaten is here on the same market as promotion for dancing
clubs, concerts, art exhibitions and other theatres. When it comes to other printed
advertising channels, Dramaten’s sporadical use of the automats for paying the parking fee
can be mentioned.
32
Due to lack of exact figures w cannot give a comparison with other cultural, musical or art events.
Data from DN and SvD respectively, original survey is Orvesto Konsument 2001-2002
34
Sv. ”stortavlor”
33
19
7.2.3 Flyers
We said that the use of posters is a part of the traditional way to promote art and culture; the
same is also true for the use of flyers when it comes to market culture events. For every play
Dramaten puts up they produce flyers. The standard format is standing, size 1/3rd of an A4
and printed in colour. Today they must all follow the design manual strictly in the relatively
new effort towards conformity in the market communication. The same personnel that drive
around and hand out the posters distribute the flyers at cafés, restaurants, shops and kiosks.
Also, they play an important role in the sales of tickets, especially in the Dramaten house.
There, the flyers serve as information and promotion of every single play, and as such is
used when the buyer is choosing theatre play. People also bring home flyers when visiting
Dramaten or buying tickets there, helping them to remember the visit and possibly increase
the rate of repeated visits.
7.2.4 Spring and autumn programmes
The year is dividend in two seasons, spring and autumn. Before each of those they produce
a programme describing the repertoire. This programme serves as a reference for potential
visitors who can read about all plays. The descriptive text is almost identical to the flyers
but in the programme it is accompanied by pictures from the première, and for plays that
have yet not had premiere rehearsal pictures are used. (This use of rehearsal photos and
performance photos as distinction between plays that have yet not had premiere, and those
who have had, is not that clear and thus questionable.) Focus in the pictorials are often the
leading stars, as famous actors or directors. The programmes are printed in full colour and
seem to aim at giving an air of theatre, art and fine culture. The images have a kind of
classical theatre feeling. They communicate the living, creative and interactive aspect of
theatre – the focus is clearly set on the actors. Following the statement of the theatre
director, see 6.2.3 Brand image and communication, this approach serves to distinguish the
theatre experience as an intimate meeting with actors who perform each and every time
before the audience. (This can be seen as opposed to TV, cinema and concerts where the
meeting between spectator and entertainer is less inimate)
The autumn programme 2002
20
7.2.5 Theatre programmes
There is a theatre programme produced for every play. Those cost around 20 kronor35 and
are telling the story about the play, the author, the time it was written, the actors and the
director. Those programmes are also used for promoting the sponsors of Dramaten. These
kinds of programmes are normally widely appreciated among the audience, since they give
the background and context to the play. You read, or at least skim, it through at the theatre
and often bring it home. Seen from this perspective they take an important role in the market
communication, the visitor actually care about and spend time with their theatre programme.
The space given for promoting other plays is most limited, only one page showing a list of
current plays is given36. This raises two questions, why not use the programmes for a more
promotional communication? And why do the spectators have to pay for the programmes?
Maybe it would be a good idea to let, at least premium segments of, visitors have the
programmes for free and use them to promote other plays. (As a comparison the
programmes are free at the Royal Theatre, Operan, and it is our subjective experience that
this is widely appreciated as a bonus and was much appreciated among the visitors, even so
the production cost is probably covered by the ticket price.37 Whether the customers of
Drametn are price sensitive or not, is not known, but need to be considered.)
7.2.6 The Dramaten building
The Dramaten building is one of the more beautiful in the city with its Art Nouveau
architecture and impressive façade towards Nybroplan. Located in central Stockholm, the
house is in itself a very strong symbol for Dramaten and the tradition of theatre. The
symbolism in the façade and the golden craftwork decorating it is to give the theatre status
and gives an aura of higher culture. This is a part of the experience at going to Dramaten,
and as such a strong competitive advantage for Dramaten, but also a problem when trying to
find new segments of visitors, whom might fear to feel wrongly placed or uncomfortable in
that atmosphere. The building in
itself is a natural object for
tourists visiting Stockholm. The
stairs to Dramaten is known as a
meeting point for stockholmers,
particularly in summer. There is
a café, Café Pauli, located in the
building attracting visitors
mainly because of the attraction
of the house. There are also
many people walking past the
building every day due to the
central location. Together, this
makes the Dramaten building a
strong symbol of the theatre,
and we can probably say that to
many people the house
embodies the theatre itself.
35
Andomaque, spring and fall 2002, Lilla Scenen.
Andromaque, as above.
37
Programmes were free as of 18 September, 2002. (Barberaren i Sevilla)
36
21
The building is not actively used for marketing communication, more than some posters
announcing the plays of the day that are found on the pavement outside the house. On the
inside people find the ticket office with posters, and more importantly flyers for all currant
and upcoming plays. Guided tours of the building are given most days, as well as
customized “behind the curtains” for schools and special groups.
However, Dramaten’s activities is not only located in the original (1907) Dramaten
building, but also in the neighbouring building were Lilla Scenen was built in 1945. Since
1998, Elverket also exists with a restaurant, bar and two new stages. However those other
scenes house a large part of the plays, it is still the original Dramaten house with its golden
decorated façade, its marble hall and grandiose paintings that stands as a symbol for the
theatre. Whether this will change with Elverket is still to see. (See also the section 6.3
Stages and target groups.)
7.2.7 Representatives
Dramaten work with a program of representatives to help promoting its plays. There is
today four different programs depending on the volume of tickets and the occupation of the
person who acts as intermediary. Due to limited resources Dramaten is turning towards
using the internet more in their contact with the representatives, thus reducing own efforts
and costs and also making it easier for the representatives. The first program, Young
representatives via internet, is new and is for those under the age of 20. Together with the
second program, School representatives via internet, they are fully administrated over the
internet. The representative acts as an intermediary in booking groups and is rewarded with
a discount of ten percent. This is directed at theatre-interested teachers, whom play an
important role in introducing young people to the theatre in general, and Dramaten more
specifically. The remaining two programs are designed for theatre interested people who
promote and arrange visits with people from their personal sphere of contacts – be it work,
cultural associations, study circles or just plain personal friends. In the first of those,
Contact representative, there is an obligation to sell at least one single group of ten visitors
to get the ten percent discount. In the last program, Theatre representative, there should be
at least one hundred sold tickets spread over five occasions, and except the ten percent
discount the representative is awarded with two free tickets for every play that Dramaten
gives.38
7.2.8 Internet
The use of internet, and especially the web site, has increased last years. This is a part of a
strategy to become more accessible, making it easier to buy tickets and find information
about Dramaten. Today’s web site is produced by Telia as a part of their sponsorship. The
web site is providing information about the theatre, about the repertoire, the ensemble of
actors and directors and it is also possible to buy tickets directly on the web site via
TickNet.se/BiljettDirekt. Buying tickets on the web is convenient since they can be paid and
collected at any ATG-representative throughout Sweden. The sales on the internet is today
approximately 30 percent of sold tickets, and the trend is towards increased use of the
internet.
Internet is important in the efforts of attracting a younger audience who does not want to
plan too long ahead. The aim from marketing department is that it should be as easy as
buying tickets for the cinema when one presumptive visitor should choose what to do an
evening. This availability has been demanded in questionnaires and is considered one major
step towards the highly fluctuating market segment of people aging 20-35 years.
38
The representative programs are called Unga ombud på webben, Skolombud på webben,
Kontaktombud and Teaterombud respectively.
22
The graphical design of the web site has
strong connections to the Dramaten
house with its aura of higher culture. A
colour scheme of blue and gold, being
the national colours of Sweden and as
such originally used in Stora Scenen, is
symbolizing the nobility, tradition and
the fine arts. This is emphasised with the
symbol of Dramaten consisting of the
two face masks, ranging from the old
Comdia del arte tradition, which is
found in the upper left corner of each
page, being a part of the page header.
Also the golden leaf ornaments
reinforces the traditional and classical
appearance.
7.2.9 Press and news medias
Dramatens has a very privileged situation when it comes to press relations; the press is often
contacting the theatre to ask for news and material for articles. The work with handling and
using the press, as well as other news medias, is probably the part of marketing that
Dramaten is historically most experienced in, according to marketing director Ellinor
Bollman. Reviews and articles about Dramaten, its actors and its directors are very effective,
actually the press coverage is in a class of its own when comparing efficiency of the
available marketing channels for Dramaten. The cost is in the personnel’s efforts and
resources spent on handling the media, however that is a low price for the marketing impact.
Due to the efficiency of providing press with material this is used as a way to reach
particular segments of the target group. An example of this is how the marketer of Boston
Marriage contacted gay and lesbian magazines to reach their special audience. (See also 7.4
Case study of LisaLouise.)
23
7.3 Launch process
In this charter an overview of the marketing process evolving around the launch of a theatre
production at Dramaten will be given. The following chapter, 7.4 Case study of LisaLouise,
will provide the reader with an example of how this could be carried out in practice.
The image below gives an overview of marketing process, the use of pictures and the
advertising efforts.
Initialisation
Produce material
Sales evaluation and
needed extra marketing
Mainly PR
Release picture
Launch picture
Ad
Ad
Ev. performance pics
Ad
Additional
marketing efforts
Concept meeting
Ticket release
- 4 months
- 6 weeks
Premiere
0
1 week
Overview of marketing process, picture use and advertising.
7.3.1 Initialisation
As described earlier, the theatre director and the director of planning set the repertoire
jointly. After the director of the play is appointed and the production has started to find its
form, the marketing department start working. One project leader is appointed to the
production and he/she starts by getting a feeling for the play by reading background material
and manuscript, talking with the creative team (director, author etc.) and watching the
rehearsals. The project leader will, together with the creative team, find a target audience for
the play and find a feeling/theme to communicate. This work starts with the concept
meeting about four months before premiere. Present at this meeting is the creative team,
normally stage designer, producer and director, and marketing personnel, project leader and
graphical designer. The discussion is about target group, embedded meaning in the play and
how to market it. This process will also include the identification of core words that are
used to lead the graphical design process.
The play is announced in previews of coming repertoires on the web and in
spring/autumn programmes.
24
7.3.2 Text material
Text material for programmes, press release and advertisements is produced in cooperation
with the creative team, who mostly have a lot of input to contribute with. They have also
started to care more and more about the marketing efforts, probably a question of a newer
generation of people. It is more fun to act when there is an audience, is cited by Magdalena
Rönström as an explanation of this increasing interest. Articles for the theatre programme
are written as well as a shorter text that goes into flyers, internet, press releases (together
with some background material) and sometimes also is used in the actual advertisements.
7.3.3 The use of photos
During this project a new policy for the use of pictures in advertising and marketing was
taken. This policy was well needed due to the diverse process of producing pictures and
using them in advertising. The policy is one part in the work of streamlining the market
communication and at the same time minimizing the efforts put in producing pictures that
soon become outdated when performance pictures are available.
The old way to work involved one picture that was produced for using from the first
advertising and flyers at the ticket release and further on, until any better was found.
Normally a second, better picture, taken from the performances was found around the
premiere and used in the following advertisements.
The process that will be used henceforth is based on two pictures, one early release picture
and one launch picture. The release picture is made from a photo of some of the lead actors
in the play; plain faces without costume or stage make-up. The launch picture will have
another photo, this time from the actual performance with a stronger and better visual
expression. Sometimes ,later performance photos are found that better communicate the
play, in those cases the advertising might be changed to use those new photos.39
There is a clear preference in using the most famous actors participating in the production,
since famous faces attract attention in themselves and are important factors when theatre
visitors choose which play to see.
A release picture being used as the front of a flyer.
39
The usage of later performance photos might be abandoned with the application of the new picture
policy, however we got no information about this at the time of the interviews.
25
7.3.4 Advertising pictures
As mentioned earlier, Dramaten’s marketing is heavily focused on the ensemble, the actors.
The advertising for each play circles around the picture that is produced. This picture is
normally based on the photos mentioned above, a unique logotype for each play and a
reference to the author of the play. The graphical communication of those pictures is guided
by the core words formulated jointly by the marketing people and the creative team. The
release picture is made for only the first initial advertisements and early flyers, all following
marketing will be using the launch picture. However, the same visual meaning should be
found in both pictures. More specifically the release picture should give the atmosphere of
the play, mostly based on the actors’ faces. The launch picture will build on this but by
using performance photos a stronger visual effect is achieved at the same time they are more
able to reflect the soul of the play.40
All ads follow the same guidelines and use the same header and footer. The picture is
placed in between followed by the actors, director, author, producer etc. Sometimes the ad is
given a headline telling that it is the premiere etc.
7.3.5
•
Advertising timetable
First advertisements are published in the culture sections of the morning press when
the tickets are first released, about six weeks before premiere. The newspapers in
question is normally DN and SvD. The flyers are laid out in the ticket office of the
Dramaten house a bit earlier to attract attention and tell what will come.
•
At the time of the premiere, normally a Saturday, a second advertisement is made in
the morning press.
•
About one week after the premiere the larger third advertisement is published, this
time with quotations from the reviews.
•
After the above launch advertisements the project leader reviews the ticket sales to
see if additional efforts are needed. Normal additional efforts consist of promoting
the play more heavily with flyers and posters in restaurants, shops, cafés and kiosks.
Also bought poster space is used. Additional efforts are normally used when a play
have its “new premiere” the second season it is shown. Additional advertising might
be using Metro and Aftonbladet, since their readers differ from the ones of SvD and
DN. (See 7.2.1 Advertising – printed press and 7.5.1 Choice of Media.)
7.3.6 Press relations
As earlier mentioned, the greatest impact is found to be the press coverage of Dramaten and
its productions. This means that a big effort in the launch of a production is put in handling
the contacts with the press. The project leader is using about a half time of work during the
weeks preceding the premiere only to handle press contacts. An important effort is made for
television since those are only a few; they are work intensive and have a great impact. Often
medias, like the television, only have a vague idea of what to do, and in those cases the
project leader or press responsible can direct the publicity to reflect what they want to
communicate. Example of this is helping television programs to find actors to participate
and then choosing those who is strategically right to promote.
40
Ellinor Bollman, 14 October, 2002.
26
7.4 Case study of LisaLouise
In order to visualise the launching process we have made a case study for LisaLouise.
The opening night was on the 14th of September and the first marketing meeting, concept
meeting, took place in May. In the concept meeting they come up with words, which were
meant to be signalised in the ads and be a base for the marketing work. These words were
thriller and ambiguity.
LisaLouise is written by Majgull Axelsson. The play is about physical abuse of women.
LisaLousie, the main character has remarried after becoming a widow. Her current husband
is a policeman who is physical abusing her and the play describes her life and how the
victim can turn to revenge. LisaLouise is a complicated character, sometimes calling herself
Lisa and sometimes Louise, depending on the situation.
7.4.1 PR launching process
Majgull Axelsson, the author, has been in focus lately, which is not only due to the new
play. She has also been involved in a big trade fair for books in Gothenburg and finished a
new book. LisaLouise is the first play Majgull Axelsson ever has written and Dramaten is
the first theatre the play is been put on. These different factors made the process with selling
in the author and the play to the press much easier than usual. Magdalena Rönström, the
project leader in charge of the play, described that this time the work with the press mostly
come down to taking care of the schedule to get the different interviews to match. The
attention culminated in September when it was time for both the opening night for
LisaLouise and the book release of the book. The press release was sent out on the 2nd of
September and, as already mentioned, the interest was huge. One resulting article from this
work was published in DN on the 12th of September, right before the opening night.41 A
special target group for this play is abused women and the people engaged in this problem, a
group Magdalena Rönström especially tried to reach through magazines for vulnerable
women.
The press was positive to the production. A review published on the 15th of September in
DN was lyrical about the performance of the actors and their ability to be trustworthy in
their characters. The play was said to really catch you and make you sleepless.42
Those different press articles are an excellent promotion for the play and the most important
channel for the marketing department.
41
42
Article Vi måste bemästra lidandet DN 12/9 2002
Article LisaLouise tar strypgrepp på publiken DN 15/9 2002
27
7.4.2 Advertising
The first ad for the play was in the autumn
program. A short text about the play is presented
in the program together with the list of actors and
a picture from the rehearsals. After this the work
with the release picture and the other materiel to
be used in the ads began. For the flyers is the
same text as in the autumn programme used
together with the release picture. This picture was
made before the summer and the flyers were ready
in June.
LisaLouise release picture
In time for the ticket release, six weeks before
the opening night, an ad was presented in DN
and SvD. 3 to 4 weeks before the opening night
was a second picture ready, which was used on
the few posters that were put up. In time for the
opening night, a new ad with the release picture
was presented in the daily newspaper. This was
followed up with a similar ad but with some
quotations from reviews in different newspapers
added.
During this whole process the play was also
promoted on the web site, with the same picture
and text as on the flyers. The quotations from the
reviews are also presented here.
28
7.4.3 Evaluation of the two different pictures
Those pictures were made before the
picture policy was ready, which results in
that part of the conclusions in the
evaluation are already dealt with.
The background in the release picture is
supposed to symbolize when the husband
of LisaLouise is using his nails to try to
get out of a pack line. In this way, the
picture alludes to something in the play,
which is not possible to understand if you
haven’t read the manuscript. Even if you
understand that the marks are after nails,
this carries no meaning for you and does
therefore not contribute to deliver the
message of the picture.
The marketing department made the
second picture because they weren’t
satisfied with the first one. According to
Magdalena Rönström is the second picture
better because the background symbolize
the ambiguity of the play and the main
characters complex personality. This
background is also used in the decor.
Second picture used in LisaLouise advertising
We agree to that the second picture is superior, but think that part of the reason for the
improvement is in the woman. The fact that she is in colour instead of black and white
makes it clearer that she has been through some hard times. The picture team has brought
forward the lines in her faces and she looks emaciated. Together with the look in her eyes
this makes you feel for the woman.
29
7.5 Market communication
7.5.1 Choice of Media
Press is the most important way for Dramaten to market and is therefore used in a large
extent. They mainly use SvD and DN for advertisements, but in special cases are for
example Metro and Aftonbladet also used.
We have been considering the possibility to use Metro more. As in most cases, both
advantages and disadvantages can be seen. It is a much more diverse population that read
Metro than the common newspapers. The content of Metro is sparse and quick to browse.
The effect of this could be that you read pages that you normally don’t notice. In the
struggle against boredom on the train, every ad becomes interesting. There may be a
possibility that people become interested in a play or that the idea pops up when discussing
the plans for the weekend later on. Another advantage is that people tend to carry metro
with them, and may therefore actually have the paper in their hands when the discussion
about plans occur. A disadvantage is that you usually never take Metro with you home and
that people usually are more interested in a culture article they have looked up in their
everyday newspaper than an article they come around in Metro.
7.5.2 Graphical profile
As mentioned in 6.2 Strategy the marketing department has decided on a graphical profile.
This profile is intended permeate all the materiel in the future and will soon be completely
ready. (The exception from the profile is the marketing for Elverket, which can be read
about in 6.3.3 To market a specific stage –Elverket-.) There are no big changes, the typeface
for the text logo will remain the same but in the header will a stamp always also be visible.
This stamp was former used for the correspondence, while the text logo was used for the
public market communication, but they will now be used jointly. The stamp stands for
tradition and continuity. The whole stamp isn’t used, only a part with two theatre masks, the
same masks that are used on the Internet site. The typeface used for the information text has
also been changed. The new typeface is meant to be easier to relate to for common people, it
is more modern.
The new header for advertising
In our opinion the facemasks are a good initiative, since they act as intermediary for the
theatre atmosphere, but we are doubtful about the stamp, or at least about how the stamp is
used. It is hard to recognise that it is a stamp that is being used when you only see such a
limited part of it. The method of only using part of a logo can be used when the logo has
very strong brand recognition, like for example Viking Line did. For us, the stamp doesn’t
have this strong brand recognition, which makes it unsuitable to use in this way.
30
The black and white pictures of Dramaten don’t
penetrate the muddle on the pages with advertisements
in the newspaper. With a white background this
problem doesn’t exists, but they can be very hard to
locate in the papers, even if you know what you are
looking for. They do absolutely not stand out and catch
your eye. Operan’s ads are similar
but much easier to locate. The
pictures with pictures can also
sometimes be hard to find.
The reason for this is probably that
the head of Dramaten’s ads is so
limited. With a heavier head, with
a more extensive black field, the
head would probably make a
greater impact. This would explain
the fact that Operan’s ads are
easier to spot, their head is
significantly heavier.
DN, Sunday 13 October, 2002
A reason for the theory that the head should be heavier is that we think
it easier to spot white text with a black background than the other way
around in newspaper. On Mondays, Dramaten has a small ad (the
picture above) to convince people to buy tickets on the Internet. This
ad is very easy to locate, which could have to do with the fact that it is
white text written on a black background.
Advertisment used in SvD, 23 September 2002
31
7.5.3 Profile advertisements
In some special cases Dramaten uses special profile advertisements. These are often special
autumn or spring advertisements. An example of this was the ad below, which was used in a
special culture edition by SvD. The pictures used are parts of the release pictures for the
autumn’s repertoire. This ad is intended to build the brand Dramaten. The actors and the
plays build and provide a meaning for the brand; they are woven into the brand. The theatre
manager describes the ensemble as the heart of the theatre and in this way Dramaten tries to
strengthen the connection between the brand and the actors. By leaving out most of the text
the ad is also intended to encourage the curiosity, about Dramaten and the plays.
Profile ad, used in special culture edition of SvD, Wednesday 18 September 2002
It is possible that the ad looses some of its value if none of the plays is being recognised. If
there is no recognition at all, the plays will not be able to strengthen Dramaten’s ad. But,
even if people don’t recognise the plays some of the actors are likely to be recognised by
most people, for example Reine Brynolfsson to the very left.
32
8 References
8.1.1
•
•
•
8.1.2
•
•
•
•
•
•
8.1.3
•
•
•
•
•
•
•
•
•
Literature
Englund, Claes and Leif Janzon (1997) Theatre in Sweden
Statens kulturråd (1991) Krukmakaren i Delphi: om konsten att marknadsföra
kultur: en handbok
Wetterström, Jeanette(2001) Stor opera för små pengar Carlssons bokförlag
Articles
Boldman, Marcus (25/9 2002) Lite opera för mycket pengar Dagens Nyheter
Jordebo, Lena (12/9 2002) Vi måste bemästra lidandet Dagens Nyheter
Holt, Douglas B. (2002) Why do brands cause problems? Journal of Consumer
Research
Lindh-Garreau, Maria (15/9 2002) LisaLouise tar strypgrepp på publiken Dagens
Nyheter
Skawonius, Betty (26/8 2002) Teaterns hjärta ska börja slå Dagens Nyheter
Uggla, Henrik (2002) Managing through the Brand Association Base
Surveys
Dramaten (1991) Kristofferson, Birgitta Projekt Unga Vuxna
Dramaten (2002) Visitor survey February
Dramaten (2002) Visitor survey June-August
Hallman, Petter and MariAnne Ygberg (2002) Consumer survey including 15
interviews of young adults
Presentation of demographical coverage for Dagens Nyheter, (Original data from
Orvesto Konsument 2001)
Presentation of demographical coverage for Svenska Dagbladet, (original data from
Orvesto Konsument 2002)
Statens kulturråd Lewin, Jan (2000) Det svenska smörgåsbordet
Statens kulturråd (2000) Den kulturella välfärden. Elitens privilegium eller
möjlighet för alla? Svenska folkets kulturvanor 1976-1999
Sveriges Radio Nowak, Lilian (1983) Dramatens publik
8.1.4
•
•
•
•
•
Interviews
Ellinor Bollman, Marketing director (27/9 2002)
Magdalena Rönström, Marketing project manager (3/10 2002)
Ellinor Bollman, Marketing director (14/10 2002)
Magdalena Rönström, Marketing project manager (14/10 2002)
Helena Seth ,Project manager (15/10 2002)
8.1.5
•
•
Electronic references
Dramaten’s web site
Culture Department’s web site
33